« AnteriorContinuar »
To pluck bright honour from the pale-faced moon ;
to the nature of the passage which contains the emotion. To Or dive into the bottom of the dèep,
these properties are added "aspirated quality,” and the "falling Where fathom-live could never touch the ground,
inflection,” as a predominating one.
A FOOL, A FOOL! I MET A FÒOL i' the forest,
A MÓTLEY FÒOL ;-a miserable world ;
As I do live by food, I met a FòOL;
Who laid him down, and basked him in the sun,
And railed on lady Fortune | in good tèrms,
Iu GOOD SE'T TÈRMS, and yet a MóTLEY VÒOL!
Rule 16.-Gaiety and cheerfulness are marked by “moderate
force,” “high pitch," and "lively movement;” moderate and languid utterance, very low pitch," and is
“radical stress ;” and smooth, movement;" a gencle “vanishing stress ;” “pure” but “ pec
' pure quality” of tone, with
varied “inflections.” toral quality;' and tbe monotone,” or, occasionally, the
Celia. I pray thee, Rosalind, sweet my cóz, be mèrry.
Rosalind. Well, I will forget the condition of my' estate, to rejoice
in yours. From henceforth I will, coz, and devise sports; let me sèe; To the last syllable of recorded time;
what think you of falling in love ? And all our yësterdays have lighted fõols
Celia. I prythee, do, to make spórt withal; but love no man in good The way to dusty dèath. Out, oùt, brief candle !
Rosalind. What shall be our sport, then ?
Celia. Let us sit and mock the good housewife, Fortune, from her
wheel, that her gifts may henceforth be bestowed equally. Rule 13.--Despair has a “softened force,” a “very low"
Rosalind. I would we could do so; for her benefits are mightily note, and a very slow movement; “ vanishing stress ;"
misplaced; and the bountiful | Blind ' woman | doth most mistake her ;" deep
gifts to wòmen. " pectoral quality;" and a prevalent “ falling inflection" or an utter " monotone."
Rule 17.—Tranquillity, serenity, and repose are indicated by Erample.
“moderate force," "middle pitch,” and “moderate movement;" I have lived long enough; my way of life
softened “ medial stress ;" smooth” and “pure quality” of Is fallen into the sear, the yellow leaf :
tone; and moderate inflections.
How sweet the moonlight sleeps upon this bank!
Here will we sìt, and let the sounds of music
Creep in our ears! soft stillness, and the night,
Become the touches of sweet harmony. Rule 14.- Remorse has a subdued or “ softened”
Look how the floor of heaven “low pitch,” and “slow movement;" a strongly marked
Is thick inlaid with patines of bright gold! “vanishing stress ;" a deep “pectoral” and ' aspirated
There's not the smallest orb which thou behold'st, quality ;” and a prevailing falling inflection," with, occa
But | in his motion | like an angel | sings, sionally, the “monotone."
Still quiring to the young-eyed cherubim :
Such harmony is in immortal souls !
The careful study and practice of tones cannot be too
strongly urged on the attention of young readers. Reading A BRÒTHER’S | MURDER !–Pray can I not,
devoid of tone is cold, monotonous, and mechanical, and false, Though inclination be as sharp as will;
in point of fact. It defeats the main end of reading, which My stronger guilt || defèats my strong intènt.
is to impart thought in its natural union with feeling. Faulty Oh! WRETCHED state! Oh! bósom, black as DÈATH ! Oh ! LÌMÉDť soul, that, struggling to be frée,
tones not only mar the effect of expression, but offend the ear, Art more engaged !
by their violation of taste and propriety. Reading can possess
no interest, speech no eloquence, without natural and vivid Note.-Self-reproach has a tone similar to the preceding, but
tones. less in the extent of each property, except "force,” in which it
The foregoing examples should be practised with close attenexceeds remorse, and "pitch,” in which it is higher.
tion and persevering diligence, till every property of the voice Erample.
exemplified in them is perfectly at command.
XI. APPROPRIATE MODULATION.
The word " modulation ” is the term applied, in elocution, to
those changes of "force," "pitch,” and “ movement," "stress,' That, from her working, all his visage wanned,
“ quality,” and “inflection,” which occur, in continuous and Tears in his eyes, distraction in 's aspect, A broken vòice, and his whole function suiting
connected reading, in passing from the peculiar tone of one With forms to his conceit! And all for nothing !
emotion to that of another. “Modulation," therefore, is For HÈCUBA?
nothing else than giving to each tone, in the reading or speakWhat's Hecuba to him, or le to Hècuba,
ing of a whole piece, its appropriate character and expression. That he should weep for her ? What would he do,
The first practical exercise which it would be most advanHad he the motive and the cue for passion
tageous to perform, in this department of elocution, is to turn That I have? He would drown the stage / with tears, back to the exercises on “ versatility” of voice, and repeat And cleave the general ear with HORRID SPÈECR !
them till they can be executed with perfect facility and preci. Make up the guilty, and appa'i the FRE'E,
sion. The next exercise should be a review, without the reading CONFOUND the IGNORANT, and amaze, indeed,
of the intervening rules, of all the examples given under the head The rery faculties of E'YES and AES.
of “ tones.” A very extensive and varied practice will thus be Rule 15.- Mirth is distinguished by “loud,” “high," and secured in “moduiation.” The stuient should, while performquick" utterance; and an approach to the rapid, repeated ing this exercise, watch narrowly, and observe exactly, every explosions" of laughter, in a greater or less degree, according change of tone, in passing from one example to another. Tho
third course of exercise in “modulation," is to select some of * This accent is inserted to mark the necessity of prououncing the the following pieces, which are marked for that purpose, as the Becond syllable ed in the word drowned.
notation will indicate. A fourth course of practice may be † Pronounce the ed in the word limed.
taken on pieces marked by the student himself.
PROMISCUOUS EXERCISES. -I. ANTIQUITY OF FREEDOM. effects do hold a real relation to each other. We spoke of [Marked for Rhetorical Pauses, in poetry.]
LAH passing (by change of movement) from the "abandonment" Here ' are old trees, tall oaks | and gnarléd pines,
of sorrow to the "abandonment” of joy. We have now seen That stream' with gray-green mosses ; here | the ground
the mental effect of DOH, ME, and son passing from the "dig. Was never trenched by spade ; and flowers | spring up
nified and solemn" to the “bold and decisive," and, by using a Unsown, and die ungathered. It is sweet |
yet quicker movement still, we may find these same notesTo linger here, among the flitting birds,
never, mark you, passing into that emotional character which And leaping squirrels, wandering brooks, and winds'
belongs to TE, RAY, FAH, and LAH, but-expressing that bold That shake the leaves, and scatter, as they pass,
hearty laughter“ holding both its sides," of which Milton A fragrance ' from the cedars, thickly set ! !
wrote and Handel sung.
O FREEDOM! thou art not, as poets ' dream,
d? :S With which the Roman master ' crowned his slave |
:1 When he took off the gyves. A bearded man,
Haste thee, nymph!
S. S :1 t Id? :S d
Haste thee, nymph, and bring with thee
S :1.tld? is
:S And shoutest to the nations, who return
Jest and youth -ful jol li
And Thy shoutings, while the pale oppressor / flies.
Thy birthright | was not given ' by human hands :
S.S :S.sis.m:d .d?: d’.d'ld'.s:m Didst war upon the panther ' and the wolf,
The laughter having thus commenced with the last phrase, Thy enemy, although of reverend look,
which is repeated in the other “parts" also, next changes to Hoary | with many years, and far obeyed, 1
another key (that of the sub-dominant), but still keeping Dou, Is later born ' than thou; and | as he meets
SOH, ME, as its accented notes. It afterwards falls into laughter The grave defiance of thine elder eye,
of a different style, which is more musical, perhaps, but not 80 The usurper / trembles / ir his fastnesses.
open and hearty. Enough of the example is given to show the Oh! not yet
character of DOH, ME, and son in rapid movements. May'st thou unbrace thy corslet, nor lay by'
We trust that our pupils will study all these examples with Thy sword; nor yet, О Freedom ! close thy lids i In slumber; for thine enemy | never sleeps,
great care, and practise them well. They could not have better And thou ' must watch' and combat || till the day
exercises for voice or ear. An earnest endeavour to study the Of the new earth and heaven.
of Awhile | from tumult ' and the frauds of men,
singing those notes with accuracy. These old ' and friendly solitudes | invite
1. The most perfect consonance (or sounding together) of any Thy visit. They, while yet the forest trees /
two notes, is that of two which are octaves to one another43 Were young' upon the unviolated earth,
DOH and don', soh and son', etc. The notes agree so “per: And yet the moss-stains' on the rock | were new,
fectly Beheld thy glorious childhood, and rejoiced.-Bryant.
as to be constantly regarded as the same.
The con sonance which stands next in the order of agreement is that of
the fifth-DOH with soh, RAY with LAH, ME with TЕ, son with LESSONS IN MUSIC.-X.
RAY', and lay with me. Te with Fan' is an imperfect fifth. MENTAL EFFECT-CONSONANCE OF NOTES, ETC.
Approaching to this in "perfectness" of concord, is the fourth-
, The peculiar character of the note me in connection with a LAH with Ray', and te with ME? FAH, TE, is an augmented rather quick movement is strikingly illustrated by the opening fourth. But it is not the most “perfect” consonance that is the of the song in the Messiah, “He was despised,” in which the most pleasing. For the production of pleasure and beauty in singer does not, for the moment, express sympathy with the music, as in all other fine arts, there is needed a certain variety despised one, but rather seems passingly to personate the in unity—a certain difference blending with agreement. Hench despiser. As you sing, lessen the accent to doy, and throw a it is that the most pleasing consonance of the scale is that of fuller force of voice on ME.
the third-DOH with ME, RAY with FAH, ME with sok, etc. The KEY EJ. M. 52. Quickly. ED
first, third, and fifth of the scale-DOH, ME, Soh-form, when sounded together, the most delightful union of sonnds that is known. A consonance of three or more notes is called a "chord.”
2. Try each of the above consonances in order, either by the
help of a friend or with some musical instrument. You will d :-1-:ti m :r
thus be aided in forming a kind of personal acquaintance with He de spis ed
the notes. You will be enabled to individualise them, and to We remarked in the last lesson the striking change in the recognise by the ear their mental effect. mental effect of a note produced by rapidity of movement, and 3. The ancient and well-known tune, “Prospect," is introobserved that, though seemingly opposed, these donble mental duced to illustrate still farther the qualities of DOH, we, and
80H. The pupil will notice that it has a soft and gentle opening, softer expression again. As the pupil learns to appreciate these which exhibits the properties of me, relieved by those of far, points, and to notice them for himself, his taste will insensibly and enlivened by son. In the fifth line there is a most beauti- improve, and with his taste his "execution.” Study in every ful awakening to bolder and brighter sounds, in which sow and possible way the various points of beauty and exprossion of upper Dou play their part, and then the music returns to the which your music is capable.
The first song is taken from the Hymns for Infant the potential mood, and even the optative mood; but these are Minds,” by Jane Taylor and her sister, Mrs. Gilbert, a work, mere figments; they have no corresponding reality in the lanlike all by the same authors, of priceless value in aid of edu- guage. Another form of the verb has a better claim to be cation in school or family. But for the sake of those who termed a mood; I allude to what is called the infinitive, es would sing this tune to a sacred hymn, we add the exquisite legěre, to read. This, however, might probably be more rightly words composed for this tune by the late Thomas Rawson described as the verb in its abstract form. If, however, it is Taylor, of Bradford, Yorkshire-hitherto treasured, like his acknowledged to be a mood, then we must say that the Latins other poems, by a select circle, but henceforth, we trust, more have four moods, the indicative, the subjunctive, the imperative, widely to be known. This tune must be thoroughly sol-faed and the infinitive. The infinitive, however, must stand in the *by heart,” like the rest, and the pupil must point to the notes class of dependent modes of utterance, since it makes no sense on the modulator as he thus sol-faes.
unless when joined to a verb in another mood. Thus, vult Our pupils must expect no explanation, at this stage of legere, he wishes to read. Here legere has meaning by being the course, of the sharps, or flats, or clefs, introduced at the united with vult. Vult is said to be a finite word, as legere i beginning of the old notation staff. A proper explanation now said to be an infinitive; finite and infinitive are the opposites would be lengthy and out of place. They are introduced thus of each other. The two words come from the same Latin word early for the sake of those who play on instruments. It is finis, end or limit; the former, therefore, means the limitel; enough for the singer that the square mark shows him the place the latter, having the prefix, in, not, means the unlimited; that of the key-note.
is, the definite and the indefinite mood.
Another form in which the verb appears is the participle. In
Latin there are four participles; 1, the active, ending in ns, as LESSONS IN LATIN.—XIX.
amans, loving ; 2, the passive, ending in tus, as amatus, loved; THE LATIN VERB.
3, the future, ending in rus, as amaturus, about to love; and 4,
the corresponding passive participle, which ends in dus, as In form, the Latin verb has two chief divisions—1, active ; 2, amandus, to be loved—that is, he who ought to be loved. The passive. Thus, laudo is I praise, in the active voice, and laudor, usages connected with these participles will be set forth hereI am praised, in the passive voice. There are some verbs which, after. The Latins have no active participle of past time; they though passive in form, are active in signification ; as hortor, cannot by means of a participle say having loved. But the I encourage. The ending in r shows that hortor is of the passive past participles of their deponent verbs have an active signifi. form. This form the verb, so to say, lays down, or lays aside, cation, since the verbs themselves have an active signification ; and hence it is called deponent (from de, down, and pono, I thus, hortatus means having exhorted. put). Deponent verbs, then, are verbs which, disregarding the Connected in form with the passive participle in dus, is what claims of their form, have an active import, just as if they were in Latin is called the gerund; as, amandum, which wears the active in form. As these verbs have an active meaning, their appearance of being the neuter singular of the participle past participle has an active meaning: thus, hortatus, the past | amandus. The gerund exists in the nominative as amandum, participle of hortor, is not being encouraged, but having en- in the genitive as amandi, and in the dative and ablative as couraged. This past participle joins with parts of the verb amando. It is not easy to set forth the distinctive meaning bum, I am, to form the perfect tense: thus, hortatus sum means of the gerund in one English term. Its proper and full foros I have encouraged. There are deponent verbs in all four con- must be learnt in reading Latin prose. I place before you a jugations.
few instances of its use. The tenses of the verb in Latin are pretty much the same as in other languages. Thus we have PRESENT, amo, love, or I am loving; IMPERFECT, amabam, I was loving, or I did love;
Scribendum est, one must write, PERFECT, amavi, I loved, or I have loved; PLUPERFECT, ama
Scribendi ars, the art of writing. veram, I had loved ; FIRST FUTURE, amabo, I shall or will love;
Scribendo aptus est, he is ready at ucriting.
Inter scribendum, during woriting. SECOND FUTURE, amavero, I shall have loved.
Scribendo exerceor, I am exercised in writing. The present tense denotes either an action continued in the present time, or an habitual action. The imperfect tense denotes Hence, you see that the gerund denotes under certain circum. an action continued in past time. The perfect tense has two stances the whole act implied in the verb, as here the act meanings first, it signifies an action done and completed in writing. Yet is it nearly connected in meaning as in form with past time indefinitely, and from the period in past time being participles. Similar, indeed, is the case with our word writing; indefinite or undefined, it is called an aorist, or is said to have and generally our active participles in ing, besides having a an aorist import (aorist is a Greek word, denotes a tense of participial force, assume now a verbal, and now a substantine the Greek verb, and signifies undefined or indeterminate); in the force; a verbal, as in writing the letter, say, etc.—that is, eckie second place, the perfect tense indicates an action which in you write, or when you write; a substantive force, as, the writing itself, or in its consequences, continues from the past to the
is bad. present, being somewhat the same as our phrase, I have dined
As in form the gerund, so also the supine is peculiar to the that is, I have just dined ; in contradistinction to the aorist I Latin tongue. There are two supines, one ending in um, ki dined—that is, yesterday, or some time in the past.
amatum, in order to love; the other ending in u, as amatu, te The Latin has three moods, the indicative, or the mood of love or to be loved; the former is called the first or active supizt; reality, the mood of simple statement; the subjunctive, or mood the latter, the second or passive supine. The former is used after of dependence; and the imperative, or mood of commaná. Mood verbs of motion ; the latter is used after certain adjectives; is a Latin word (modus), signifying measure or anner. It is
thus : found in the French torm mode, sometimes used in English. The term mood, therefore, denotes the modes or manners in
1st. Venio rogatum, I come in order to ask.
2nd. which a statement is made. All propositions may be reduced
Jucunda auditu, pleasant to hoar or to be heard. to two general classes; they are either independent or dependent. You may see here an illustration of the propriety of my ques The independent are in the indicative mood ; that is, the mood tioning whether the infinitive should be designated a mood. which simply indicates or points out. The dependent are in the If it is a mood, is not the supine equally a mood ? And if you subjunctive. The word subjunctive (Latin, sub, under or to, and admit the claims of the supine, can you deny the claims of the jungo, I join) signifies that which is subjoined; that which is gerund? But if the gerund is a mood, equally is the participle connected in the way of dependence. The subjunctive mood, a mood. Properly there can be no mode or manner of utterance consequently, is the mood which is dependent on the indicative where there is not a complete utterance; that is to say, moods The imperative mood, though differing in form from the other imply propositions, for without a proposition there is no moou. two, may logically be considered as a subdivision under the sub- If so, the infinitive can be called a mood only by some latitude junctive. How closely the subjunctive and the imperative are of expression. allied, may be seen in the fact that the subjunctive is often used These, then, are the forms of the verb which you have to for the imperative; it is so used when a kind of softened com- understand, to recognise, to construe, to form, and to employ in mand is desired. In the older Latin grammars, you will find Latin. I will here recapitulate them :
KEY TO EXERCISES IN LESSONS IN LATIN.-XVIII. 1. Active. 2. Passive.
EXERCISE 69.-LATIN-ENGLISH. Deponent belonging to the passive in form and to the active in meaning. 1. There is no firm friendship among the bad. 2. I hasten to death.
3. The Gauls dwell beyond the Rhine. 4. We have no weapons against SIX TENSES.
death. 5. A generous man is mild toward the conquered. 6. Comets 1. Present; 2. Perfect; 3. Imperfect; 4. Pluperfect; 5. First Future ;
are admirable on account of their rarity and beauty. 7. Slaves obey 6. Second Future, or Future Perfect.
on account of fear, the good from a regard to duty. 8. Sailing along
the shore is often dangerous. 9. No one is happy before death. 10. THREE MOODS.
On what account dost thou laugh? 11. Below the moon all things 1. The Indicative. 2. The Subjunctive. 3. The Imperativo.
are perishable. 12. Thou dwellest many years among barbarians. 13.
The kingdom of Pluto is placed under the earth. 14. The government FOUR OTHER FORMS.
of nations is in the power of kings. 15. Fish die out of water. 16.
The thing happened contrary to expectation. 17. The camel bears 1. The Infinitive. 2. The Participle. 3. The Gerund. 4. The Supine. hatred to horses. 18. Painted garments are mentioned with (in) In all, fifteen varieties of expression enter into the Latin verb. Homer. 19. Many animals congregate and fight against other animals. You are not to suppose from this that every verb has all these 20. The hippopotamus feeds on the corn-fields around the Nile. forms. Even when the Latin was a living language, many
EXERCISE 70.-ENGLISH-LATIN. verbs were defective, that is, lacked some of the ordinary 1. Inter malos nulla est firma societas. 2. Contra mortem nulla forms. We, however, are bound to write the language as we habet homo arma. 3. Ultra mortem est vita. 4. Ad Rhenum profind it written in the remains of Roman literature, and so are peramus. 5. Ante domum sunt amici. 6. Apud me sunt filii mei.
9. Post restricted to forms which actually occur in extant Latin writings; 7. Apud te suntne filii vestri? 8. Mitis erga victos est rex.
10. Quid est infra terram ? 11. Deus est and as poetry has its licences, so are we obliged, in order to be mortem boni sunt felices. correct, to confine ourselves to the usages of the best prose Penes me mei sunt liberi.
super omnia et per omnia, 12. Infra nubes habitant homines. 13.
14. Apud Ciceronem sunt multa pulchra writers. In general, the Latin of Cicero is the model to be
dicta. 15. Rus propter te amo. 16. Intra muros sunt milites. followed.
EXERCISE 71.---LATIN-ENGLISH. Verbs which have been above described as active, may also
1. Poison is for (acts as) a remedy sometimes. 2. An infant has no be called transitive; that is, active in voice, and transitive in
power without another's aid. 3. Eagles do not build in trees. import; thus, laudo puerum, I praise the boy, is a transitive The cuckoo lays in the nests of other birds. 5. By old age our senses verb, because the action of the verb passes over (trans, across,
6. Some men are born with teeth. 7. Xerxes fled from over, and eo, I go) to the object, puerum. As some verbs are
Greece with very few soldiers. 8. Metellus leads elephants in triumph. transitive, others are intransitive or not transitive. Such is 9. The traveller sings in presence of the robber. 10. The stars move dormio, I sleep, in which no action passes over to an object. from the east (rising of the sun) to the west (setting of the sun). 11. Intransitives are sometimes called neuters ; that is, neither Britain was discovered by the Phænicians. 12. Bees cannot exist
13. It is sweet to die for one's country. active nor passive. When they have a passive form, they bear without a queen. the name of neuter passives; as, ausus sum, I have ventured ;
EXERCISE 72.-ENGLISH-LATIN. gavisus sum, I have rejoiced. Sometimes a verb, in the passive 1. Estne aliquando venenum pro remedio ? 2. In Græciā pugnat form, has a reflective force, and may be Englished by a neuter Xerxes. 3. In senectute visus et auditus hebescunt. 4. Paritne in or intransitive verb; as, moveor, I move myself, or simply, I alieno nido coccyx ? 5. Soror tua coram multis cantat. 6. Ab ortu move. A few active forms have a passive signification; as,
solis ad occasum properant. 7. Græcia proficiscens exercitus in Italiam
properat. 8. Metellus cum multis militibus est in Britanniã. 9. vapulo, I am beaten; veneo, I am sold. Somewhat similar is Filius meus sine dentibus est natus. 10. Estne exercitus sine ele. fio (factus sum, fieri), I become, I pass from one state into another ; phantis ? 11. Elephanti in triumpho a duce ducuntur. 12. Dulcene I am made,
est pro patriâ mori? 13. Quid sine Dei ope sunt mortales ? 14. The tenses may be divided into three classes ; thus :
Omnesne aves in arboribus nidificant? 15. Clam patre est puer in
domo. 16. Infantes in gremio matris felices est dulce videre. 17. I. PRESEXT TIME the action incomplete Presont.
Tecumne est soror tua ? 18. Sine patre nihil potest puer. 19. Mecum the action complete Perfect.
est filia mea. 20. Quot liberi tecum sunt ? 21. Quot homines sunt II. PAST TIME. the action incomplete Imperfect.
in Britannia ?
the action incomplete First Future.
LESSONS IN GEOMETRY.—XIX. You thus see that there are three forms of complete action, and The following method of constructing a regular pentagon three of incomplete :
involves the use of the circumscribing circle, on the circumference
of which the angular points of the pentagon may be marked. (1 scribo, I write or am writing
PRESENT. INCOMPLETE 2 scribebam, I did write or was writing
We have added this to the modes of construction given in the
IMPERFECT. 3 scribam, I shall write or shall be writing FUTURE.
last lesson to show the student that there are many ways of (1 scripsi, I have written
constructing each of the regular polygons, and to urge him to COXPLETE 2 scripseram, I had written
PLUPERFECT. exercise his ingenuity in finding out other methods for the con3 scripsero, I shall have written
SECOND (or struction of the hexagon, heptagon, etc., than those we are
PERFECT) FUTURE. about to give him in this and the following lessons. The natural sequence of our ideas requires a corresponding se
PROBLEM L.-To construct a pentagon on a given straight quence of tenses. We do not in thought suddenly pass from line (another way). the present to the past in the same sentence, or in the same
Let A B (Fig. 68) member of a sentence. Consequently, we must avoid doing so
be the given straight in the employment of the tenses. The tenses may be divided line on which the reinto pairs-namely, similar and dissimilar; for example:
quired regular pen-
scribed. At the point Present Present.
A, in the straight
line A B, draw A C, Imperfect Imperfect. Pluperfect Perfect present.
of indefinite length, Imperfect Pluperfect.
perpendicular to A B, Now similar tenses should follow each other, and not dissimilor and produce a B indeones. That is, if you use one present, use another; if you use finitely both ways to
Fig. 68. a present, do not let an imperfect immediately follow.
wards x and y. Bisect Observe, however, that the present infinitive may come after A B in D, and along a c set off A E, equal to Ad. Join B E, and a finite verb in the imperfect tense, as solebat scribere, he was produce it indefinitely to F, and set off EG along e F, equal to Ea wont to write. The rule I have now given relates to what is or AD. Then from A as centre with the distance A G, describe the called the consecutio temporum, or sequence of tenses. Compare semicircle x G H, and from B as centre, with a distance equal to Exercise 75 (Latin-English), in the next lesson.
A G, describe the semicircle KLY, and let the semicircles x G H,